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b. 23
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composition: Op. 11, Concerto in E minor, Mvt II
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According to us, the placement of the legatissimo indication, if it reproduces the notation of the autograph accurately, is of a conventional nature – there is no reason for that indication not to concern also the first half of the bar. Due to that reason, we place it slightly earlier in the main text. category imprint: Editorial revisions issues: Centrally placed marks , Legato & slurs |
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b. 24
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composition: Op. 11, Concerto in E minor, Mvt II
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According to us, Fontana's fingering in EE is not based on an authentic fingering in this case – see bars 25-26. category imprint: Differences between sources issues: EE revisions |
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b. 24
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composition: Op. 11, Concerto in E minor, Mvt II
category imprint: Editorial revisions issues: Long accents |
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b. 25-26
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composition: Op. 11, Concerto in E minor, Mvt II
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The fingering added by Fontana in EE – here and at the end of the previous bar – does not seem to be authentic. In a similar pianistic context in bar 30, Chopin copied the transfer of the hand without changing the fingering, cf. also the Sonata in B category imprint: Differences between sources issues: EE revisions |
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b. 25
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composition: Op. 11, Concerto in E minor, Mvt II
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The meaning of the vertical line added in FES is not entirely clear; however, it is most likely a fingering digit. category imprint: Differences between sources |
minor, op. 35, the 3rd mov., bar 
